*All songs written by Bob Dylan

Jessica Rhaye: Lead vocals, acoustic guitar (tracks 3, 4, 7, 8, 9)
Chris Braydon: electric guitar, vocals (track 3), group vocals (track 9), effects manipulation (tracks *intro 1 & 3)
Sandy MacKay: upright bass, electric bass, mandolin (track 8), vocals (tracks 1, 2, 3, 4, 6, 7, 8, 9)
Clinton Charlton: drums and percussion, synthesizer (track 3), group vocals (track 9)
Bill Preeper: electric guitar (tracks *intro 1 & 2), acoustic guitar (track 4), 12 string acoustic guitar (tracks 5 & 8), accordion, vocals (tracks 1, 7, 8, 9)
Dale Murray: 12 string electric guitar (track 5), 12 string acoustic guitar (tracks 5 & 8), pedal streel, piano, organ, synthesizer (tracks 4 & 6), radio intro (track 8), group vocal (track 9)

Produced & Mixed By Dale Murray with Jessica Rhaye & the Ramshackle Parade
Engineered by Dale Murray
Mastered by Joao Carvalho
Illustration by Jud Haynes
Photography by Mark Hemmings
Design & Layout by Jessica Rhaye

"Jessica Rhaye's got a new collection of Bob Dylan reinterpretations coming out this fall, one of the best I've heard since Tim O'Brien's excellent collection from back in the 90's. I especially love to hear women's voices singing Bob's music---there's something about the female perspective that seems to complete the Dylan message, as if his songs are notes left in a bottle needing to crash on the siren's rock before they can be fully released. Mavis Staples is one of those sirens, as is Joan Armatrading, and now, thankfully, Jessica Rhaye." - Ketch Secor - Old Crow Medicine Show

“The modern folk trio offered their skills to the famed Dylan track (Blowin’ in the Wind) in this string-laden rendition. Rich with golden vocals, acoustics, and even a mandolin, Rhaye, and her group would make Baez and the rest of the ’60s decade proud with this heartfelt version.” - American Songwriter Magazine

“In a Stan-worthy move only the biggest Dylan diehard could pull, New Brunswick folk queen Rhaye has spliced, examined and re-assembled ol’ Bob’s songbook. The result? A collection of covers that attempts to emulate the legend’s Basement Tapes-era energy while seeing some of the best songs about women ever written showcased through a woman’s gaze.” - The Coast

"Love what you did on the album. Especially love that you and the band did not simply recite the songs but interpreted them and made them your own" - Michael Tearson, DJ, - Sound Museum | World Wide Dylan www.rtds.ca

"Nice work with the Dylan tunes, especially liked hearing Lay Down Your Weary Tune" - Ron Sexsmith

"I like it a lot. Very cool project." - Dr. Rob Bowman, Grammy-Award-Winning Professor of Ethnomusicology

• ECMA 2021 Nomination - Group Recording of the Year
• Music NB 2020 Nomination - Recording of the Year
• Music NB 2020 Nomination - Live Act of the Year
• Music NB 2020 Nomination - Fans’ Choice of the Year
• Music NB 2020 Nomination - Video of the Year (Sad Eyed Lady of the Lowlands)
• Music NB 2020 WINNER - Visual Identity of the Year
*Their version of Bob Dylan’s Blowin’ in the Wind has generated millions of views on YouTube!

Ring Them Bells (Oh Mercy - 1989)
Our version of this song takes on a gospel rock groove. When Dale played the piano and organ parts, he followed the approach of ‘organist’ Al Kooper on “Like a Rolling Stone”. Kooper, who was not an organ player but wanted very much to be on the record, didn’t know how to play the song and played late on all the chord changes, creating a signature sound. “I didn’t learn the chords,” says Dale, “just kinda played along - that was my approach on the organ and piano on everything here.” We loved watching Chris prep and play the guitar break on this track - an eel’s nest of cables and pedals to create the dual guitar lead that sounds like a waterfall and the result is a great take with a fun loose feel! The intro is a short guitar piece of Dylan’s “Duquesne Whistle” from ‘Tempest’ - played by Bill and distorted by Chris.

Sad Eyed Lady of the Lowlands (Blonde on Blonde - 1966)
The original is 5 verses long and takes up the whole side of Dylan’s ‘Blonde on Blonde’ album. We trimmed it down to just the first 2 verses. Originally, we tried for an old-style folk sound, but that was too close to Joan Baez’s arrangement. Clinton came up with this pop arrangement, breathing new air and a unique feel on a song that Dylan says was the best song he ever wrote.

As I Went Out One Morning (John Wesley Harding - 1967)
Chris introduced us to Wovenhand’s tenor guitar version from a live performance he found. From Wovenhand, we borrowed and adapted the “Hey Ho Na Di Do” lyric and then put a dark psychedelic spin on the whole thing. This tune captures a moment in time as the protagonist agrees to help a slave flee, and they’re caught before a single step is taken. When we first played this tune live, we were starting to spread our rock’n’roll wings and nervous about alienating some of our folky fans. One of our fans came roaring up to us after the show, saying “I love that song, what was that, where did that come from?! I love it!”

I Dreamed I Saw St. Augustine (John Wesley Harding - 1967)
“This is the first Bob Dylan song I fell in love with as a kid, while lying in the back of my parents’ old station wagon driving to early morning Judo class. I always picture Van Gough’s ‘Starry Night’ when I listen to this song” says Jessica. Chris’ beautiful guitar solo, along with the delicate cymbal work and bowed bass gives our version of this epic song a lush dreamy feel. Dylan talks about the John Wesley Harding album, and his increased interests in painting and his work to sharpen the imagery in his lyrics at the time.

It's All Over Now Baby Blue (Bringing It All Back Home - 1965)
Someone said, “Let’s rock this out like a Traveling Wilburys' tune!” and so we did. Bill and Dale played dueling 12-string and 6-string acoustic guitars around 1 microphone in the recording studio to get that feel, and we all did hand claps. Like many Dylan tunes, there’s a wealth of lyrics with crazy images and characters challenging the singer to remember everything!

One More Cup of Coffee (Desire - 1976)
Clinton kicked off this cut with a slinky rhythm to give this song a seductive gypsy, psychedelic feel. The organ adds a touch of Phantom of the Opera. There are 2 versions of this song. The short version is on vinyl and the full version can be picked up in the virtual world.

I'll Be Your Baby Tonight (John Wesley Harding - 1967)
We enjoy the flirtation that happens between Chris’ rockabilly electric guitar and Dale’s old time country pedal steel. It’s like a conversation going on between these two instruments, each one bringing a voice from a different era. This is another tune we had to trim to fit on vinyl so there are 2 versions - short version on vinyl and full version on digital.

Blowin' In The Wind (Free Wheelin’ Bob Dylan - 1963)
“This is the first song my mom taught me to sing and play on guitar,” said Jessica. “ When kids in Jr. High were lip-synching to the latest radio hits at school variety shows, I was singing ‘Blowin’ In The Wind’ and strummin’ my guitar.” Bill, Sandy and Jess recorded this song ‘live off the floor’ in one room, all instruments and voices in one live take (well, it took a lot of takes but you get the drift), then the bass was added afterwards. We wanted to get a live folk vibe for this tune.

Lay Down Your Weary Tune
(Written for The Times They Are A-Changin' - 1963 / Released on Biograph - 1985)
To wrap up this record, we wanted a fun Sunday gospel-feel-good tune. Some say this song represents Bob Dylan’s shift from politics to mysticism. Jess, Sandy and Bill share the verses and by the end of it, everyone’s in on the chorus in a big noisy party fashion. This tune features Bill on accordion - he learned his part on his grandmother’s 100-year-old button accordion. This was the last tune we recorded and it captures perfectly how excited we were feeling by the end of these sessions.